Sunday, November 25, 2012

Being an active
creative practitioner with the emphasis on arts and crafts and its links to
teaching and learning within a vocational training based department (Jewellery
Design and Manufacture), compels me to constantly increase my knowledge and
expertise in the art of making.

A visit abroad, to view first hand new creative
statements in art and design was planned during the university’s midyear
recess. The planned visit to Mainland China was my first, a long overdue trip
abroad. Exposure of this nature not only enlightens ones perception of cultural
practice but also quickens and challenges one perspective on product design and
development from an academic teaching and learning perspective.

Drawing and
Ceramics has always been my passion and it is obvious that the east and
particular China has so much to offer. Its booming economy has cultivated a
thriving contemporary art and expanding craft sector with supporting Centres of
Excellence, to catapult its development well into the 21st century.

I also draw significant inspiration from their appreciation for mastering the
art of making in all forms and disciplines – China offering a rich and diverse
cultural experience. Working across disciplines has enabled me to transfer
knowledge and skills on a variety of levels within Jewellery and product design
and development. My recent work, teaching foci and
research articles, including community outreach consulting and workshops
(Northwest Province and Ceramics SA) extend far beyond the discipline specifics
of ceramics.

Teaching design for manufacture with the knowledge of thinking
through drawing and the crafts has become my major focus and area of expertise.
The integration of creative production is best expressed in the arts and crafts
in the east, especially Asia.. The trip included visits to
Beijing and Shanghai; to view major art and craft collections in museums,
galleries and markets.

I also visited contemporary art galleries and design studios/outlets
to determine the role of craftsmanship in contemporary art making: mainly to
explore interdisciplinary shifts and developments in terms of expression and
product development. I have always drawn inspiration from
artifacts and Chinese stylization; a trip there would not only inspire me, but
also increase my knowledge and insight into the development of contemporary art
and crafts.

The two exhibitions featured here are the most exciting contemporary art
and design work I encountered during my trip abroad. Both exhibitions were on
at M50 (follow link to a list of galleries) Shanghai’s cutting-edge art
district. Housed in warehouses across the river from the Shanghai train
station.

The first exhibition featured here is the work of Martin Klimas, exhibited at the Other Gallerywho has branches in Shanghai, Beijing and Wenzhou. His first China
solo exhibition was titled Movements
and the series that caught my attention was ‘Kung
Fu Warriors’ .

In my pictures you see the world through the eye of a high-speed camera.
This way of seeing provides for us something that we normally cannot see, this
moment of transformation can really only be imagined by us. I provide a way for
us to see this action differently. It is an in between state. A state where
rest and motion can exist together. I hope this situation can be applied and
give us thought in our everyday world.(The artist’s statement – an extract
from an Interview conducted by Rosecrans Baldwin, August 21, 2007 Morning news;
Still Life).

By dropping the Chinese made Kung Fu figurines, which crash to the
ground, Martin Klimas catches the very moment of a powerful and unique burst,
emphasizing their fierce character as temporary sculpture. Falling from a
height of 3 meters, ceramic fighters smash, sliver and expose a rarely seen
moment of a 7th millisecond. This dynamic and surprising glimpse
exposes a play of dignity and beauty hidden in total destruction in his radical
and elemental still life (exhibition catalogue).

The fighting figurines display a perpetual sense of motion and start to
set free a dynamic action that the character is already implying – they seem to
come alive.

The artist drops the ready-made ceramic figurine from a height of 3
meters in complete darkness while the lens of the camera is open. According to
the artist, the sound of the smashing figurine hitting the ground triggers the
lights to go on, capturing the moment and movement of the disintegrating piece
on impact.

Klimas captures each individual experience of porcelain figurines being
dropped and obliterated. With fixed expressions, these statuettes fall to their
fragile demise.

Purchased from flea markets, bought online or donated by the companies
that manufacture the products, the fragile ceramic figurines hit the ground and
shatter, the moment forever frozen in photographs, that Kilmas refers to as
temporary sculpture. It is this idea of expressive three-dimensionality
captured in a two dimensional format that intrigued me about the work. For me
there is far more to the creative statements.

Combining the inherent fragility of ceramics, with the use of the readymade (Chinese
Ceramic Ornament) to create a temporary sculpture through the medium of
photography is a multidisciplinary and interdisciplinary creative statement. One
of the main aims and objectives that inspired me to travel to China in the
first place - to explore interdisciplinary shifts and
developments in terms of expression in cultural production.

There is a
comforting idea amidst what appears to be violence and chaos, which is the
concept that this destruction can ultimately result in creation.

The second exhibition was titled It’s
Teatime, a group exhibition of utilitarian products at the Design Store and
Pottery workshop at M50. The products that caught my attention were the
contemporary teapots and cups produced by ceramic designers in association with
the Sanbao Ceramic Art Institute at Jingdezhen.

Teapots and cups/bowls manufactured at Zingdezhen.

Feitian teapot - set

Snowball teapot and bowls.

The Sanbao Ceramic Art Institute at
Jingdezhen.

The institute at Jingdezhen was officially inaugurated in June of 2000. and
has since been very busy hosting Porcelain Symposiums, organizing customized
and personalized tours and visits throughout China to areas of interest to
artists and artisans, establishing university level ceramic instruction, summer
school ceramic courses, celebrating the 1000 years of porcelain in Jingdezhen
in 2004, participating in in the NCECA student scholarship program, offering
residencies and fellowship programs to the international artists and artisans,
as well as organizing many other international artistic and cultural activities
in China.

Wednesday, November 21, 2012

I was pleasantly surprised to see China’s approach to green the
sidewalks and to preserve their traditional gardens, to combat the impact of
the fast-growing metropolis of both Shanghai and Beijing respectively. The two
cities I visited in my recent trip to China. Shanghai is considered the ‘Pearl
of China’ and is the fastest growing of the two expanding cities. It is
therefore important to address urbanization by creating green belts and maintain gardens and parks, as
well as establish urban-open spaces to cater for a variety of needs of its fast
growing population.These green belts,
parks and gardens enhance the spiritual, recreational and cultural life of the
Chinese. Some of which are steeped in tradition, preserved and maintained for
cultural purposes. Two such Gardens (featured here) are Yuyuan (Shanghai) and
Ditan Park respectively (Beijing).

Apartments are very small and often
overcrowded and going green therefore improves the quality of life of its
citizens. Strictly maintained and guarded, these segments of nature provide much
relief to the city’s inhabitants, an escape from their claustrophobic living and spaces.

More importantly, it is necessary to go green to combat serious
pollution. A grey haze hangs and almost drifts like mist in between the
buildings, a constant reminder of its threat, restricting your view, further
hampered by an ever-increasing number of high-rise buildings that rockets into
the sky in every direction you look. Most of the city's cultural structures are situated
in or in close proximity to gardens. During festive seasons and holidays these
green spaces are fully utilized, as one would come to expect from such a
densely populated metropolis.

What one must also take into account is that the
Chinese are very proud of its recent economic success and its manifestation in
these two fast growing cities. Local tourists therefore flock to these new
found centres of excess to see for themselves the impact of their newfound
economic success.

Avenue of Stone Figures - Ming Tombs.

Yuyuan Garden (Shanghai) was built in the Ming Dynasty, more than 400
years ago. The exquisite layout, beautiful scenery and the artistic style of
the garden architecture have made the garden one of the highlights of Shanghai.
The styling of these gardens is also visible in nature inspired finely crafted
works of art.

Jade carving flora and fauna.

Bamboo sculpture at Shanghai museum.

The attention to details is just incredible, as this fine
example of bamboo carving depicts. The pruning and shaping of trees, gardens
and sculpting of almost everything, embodies a peculiar feeling of manipulation and
order taken to the highest level in all aspects of culture and all walks of life.

Yuyuan
literally means Happy Garden. It is located in the center of Shanghai's Old
City, a few blocks south of the Bund. It has a total area of about two hectares
(five acres) with more than 40 attractions. The inner and outer gardens were
both built in the Ming Dynasty classical style, with numerous rock and tree
garden areas, ponds, dragon-lined walls and numerous doorways and zigzagging
bridges separating various garden areas and pavilions.

The garden covers a significant space and includes a few
halls and other buildings of interest. Its cultural relics include the
century-old furniture, calligraphic and painting works of famous artists,
clay sculptures and brick carvings as well as some inscriptions and
couplets. What would and oriental garden be without water and of course fish.

One of the highlights of the garden is the Exquisite Jade
Rock. It is a 5-ton, porous, beautifully shaped, grotesque rock, which is said
to have been carried from Taihu (Tai Lake) in Wuxi, Jiangsu province. The rock
is characterized by its wrinkled appearance, slender shape, translucent nature
and numerous holes eroded by water. An interesting legend goes that the rock
was found some 1000 years ago, and it was originally one of Song Emperor
Huizong's private collection before it found its way into Yu Garden.

Ditan Garden is located on Andingmenwai Street, in the
Dongcheng District of Beijing City. The altar is a square, two-storied building
enclosed by a square ditch. The Fangze Altar was built in 1530 during the reign
of the Emperor Jiajing of the Ming Dynasty (1368-1644). This was the sacred
place used by the emperors of Ming and Qing dynasties to worship the God of the
Earth.

Ditan Park is the last remaining altar for worshipping the God of the
Earth. From 1531 to 1911, 14 emperors used this alter as a place of sacrifice.
At that time, worshipping the gods of Heaven and Earth was a very important
part of religious activity. This practice dates all the way back to prehistoric
agricultural production.The Fangze Altar is the best-preserved piece of
architecture used for worshipping the God of Earth. Its original design
imitated the altar of earth on Zhongshan Mountain in Nanjing.

When the Emperor
Qianlong of the Qing Dynasty (1644-1911) reigned, the park went through
large-scale reconstruction and enlargement. Ditan Park covers a square-shaped
plot of about 37.4 hectares (92.4 acres).

All of its architecture was designed
according to the Chinese ancient Five Elements Theory, Round Sky and Square
Earth Theory and the symbols of 'Dragon & Phoenix' and 'Heaven &
Earth'. Today, in addition to the Alter of the Earth, visitors can see a number
of ancient buildings such as Huangqishi, Zaishengting, Zhaigong and Shenku. Huangqishi
(the House of Worship for the Earth God) is one of the major buildings in the
park.

Throughout the Ming and Qing dynasties, this was used as a spot of
worship for the God of the Earth and many other Chinese gods. In 1986, it
converted into an exhibition room of cultural and historical relics. Zaishengting
(Slaughter Pavilion) is the place in which bulls, pigs, goats and deer were
slaughtered. Animals were killed on the day before the worship ceremony, and
then prepared as the sacrificial offerings for the God of the Earth.

The park is also utilized for recreational purposes
and is home to fabulous flowers including peonies and blossoms, a must see
during the spring season. I did not experience the park in spring but did get to see numerous lotus flowers.

Title image: Ceramic installation with projected animation titled, and the ship sails on. In celebration of the Chinese year of the dragon. Follow link to view video on You Tube.EUGENE HŐN : CERAMIC ARTISTThe purpose of this blog is to inform you of the creative thinking behind my ceramic statements.I will therefore provide reference material to facilitate greater interaction with you in the development of ceramic concepts. The expressed views and posted comments are intended to illustrate how the ceramic statements act as a vehicle for an expanding discourseon relevant art, design and craft issues.

About Me

I am a ceramic artist with a passion for drawing. My ceramic statements are a creative response to the literary sources I choose to read. I am also an academic, recently appointed Director of the FADA Gallery at the University of Johannesburg. I am an artist that celebrates the handmade, with strong concepts and meaning that straddles the disciplines of ceramics, sculpture, drawing, artist’s books, digital printing, animation, video or digital projection Installation and ultimately design.